a longer life was granted for the enjoyment of his fortune and the extension of his fame, than fell to the lot of Taddeo. The failing mainly attributable to both was absence of style. Their inventions were often flimsy, and their compositions, deficient in unity and dignity, are often little more than figure groups. * * * * * A necessary consequence of the low style of art which the Zuccari adopted was that, notwithstanding the number of assistants whom they constantly employed, their school neither attained to considerable repute among their contemporaries, nor put forth many pupils of note; offering in this respect a marked contrast to that of their countryman Baroccio, whose pleasing manner attracted a host of admirers and imitators. Two natives of Pesaro, however, possess a certain reputation in the semi-mechanical church decorations then largely produced. They were Nicolò Trometta, generally called NICOLÒ DA PESARO, and GIAN GIACOMO PANDOLFI, the latter of whom was the earliest instructor of Simon Cantarini da Pesaro. The various works which these and other Zuccaristi have left in the duchy are quite unworthy of special description, and we may dismiss them with the mention of CAVALIERE DOMENICO CRESTI DA PASSIGNANO, whose chief title to fame is reflected from that of his pupils TIARINI and LUDOVICO CARACCI. Among the painters less known to fame were BIAGIO and GIROLAMO D'URBINO, both of whom were employed in the Escurial; the former left Spain along with Federigo Zuccaro, in 1588; the latter wrought under Pelegrino Tibaldi. Ottovevenius, after spending seven years with Federigo, carried his influence beyond the Alps, and eventually numbered Rubens among his scholars.